Download - Banjo Theory
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Music Theory ForBanjo Players
Taught by Rick McKeon
This document has all of the diagramsreferred to in the video lessons
Enjoy!Rick
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Figure 1: Interval Pattern for the Major Scale
The major scale is the basis of all music theory! Once you know the pattern for themajor scale and where the half-steps are, you can figure out the name of any note on
the banjo fingerboard. Also, you will see why we end up with sharps or flats in some keysignatures.
What is a major scale?
All major scales have the same pattern of whole and half steps: Whole, Whole, Half,Whole, Whole, Whole, Half. This pattern is what gives that do re mi sound we are allso familiar with. So, no matter what note we start with, the major scale looks like this:
1 2 3 4 5 6 7 1
Whole Whole Half Whole Whole Whole Half(2 frets) (2 frets) (1 fret) (2 frets) (2 frets) (2 frets) (1 fret)
Where are the half steps?
To remember where the half-steps are think of a BEE to help you remember the lettersB and E.
BEE
Any two consecutive notes have a whole-step (two frets) between them except for twopairs: B&C and E&F which have a half-step (one fret) between them.
For all starting notes, if we went through and adjusted the notes (making them eithersharp or flat when necessary) to make them fit this pattern we would generate all of
the major scales.
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Figure 2: The Major Scale for all Keys
Major Scale Key Signature1 2 3 4 5 6 7 1
W W H W W W H
C D E F G A B C (No sharps or flats)G A B C D E F# G (1 sharp)D E F# G A B C# D (2 sharps)A B C# D E F# G# A (3 sharps)E F# G# A B C# D# E (4 sharps)B C# D# E F# G# A# B (5 sharps enharmonic to Cb)F# G# A# B C# D# E# F# (6 sharps enharmonic to Gb)
C# D# E# F# G# A# B# C# (7 sharps enharmonic to Db)
F G A Bb C D E F (1 flat)Bb C D Eb F G A Bb (2 flats)Eb F G Ab Bb C D Eb (3 flats)Ab Bb C Db Eb F G Ab (4 flats)Db Eb F Gb Ab Bb C Db (5 flats enharmonic to C#)Gb Ab Bb Cb Db Eb F Gb (6 flats enharmonic to F#)Cb Db Eb Fb Gb Ab Bb Cb (7 flats enharmonic to B)
To remember the order of sharps think Fat Cats Go Down And Eat Breakfast.
To remember the order of flats think of the word BEAD and then Go C Flats.
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Jesse JamesTraditional Arr. Rick McKeon
Rev. 3/6/11 Page 1/2
4 4 0Jesse
0 2[S]
G
James
0 4
0
VERSE
0
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was
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2
a
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lad,0
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He
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C
killed
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21
4
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G
man.
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00
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the
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Rev. 3/6/11 Page 2/2
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Figure 4: Note DurationsArr. Rick McKeon
Rev. 10/15/11 Page 1/2
TAB
Exercise #1
0
1
0
2
0
3
0
4
0
1 (2)
0
3
0
4
TAB
3
Exercise #2
0
1
0
&
0
2
0
&
0
3
0
4
0
1
0
2
0
&
0
3 (4)
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Figure 4: Note Durations -
Rev. 10/15/11 Page 2/2
TAB
5
Exercise #3
0
1 e &
0 0 0
2
0
&
0
3
0
&
0
4
0
1
0
&
0
2
0
&
0
3
0
4
TAB
7
3
3
Exercise #4
0
1 triplet
0 0 0
2
0
&
0
3
0
&
0
4
0
1
0
&
0
2
0
& (3)
0
&
0
4
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Figure 5: Practice LicksArr. Rick McKeon
Rev. 10/15/11 Page 1/2
4 4
2[S]
Lick #1
1
0
3
&02
0
&
0
3
0
0 4
2[S]
1 e &
3
0
02
0
&
0
3
0
0 4
3
Lick #2
(1)
0
2
2
3
4
4
0
1
0
&02
0
&
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3
0
&
0
0 4
5
0
Lick #3
1
7
&
5
20&
0
3
0
4
23
1
0
&
12
2
0
&
00
3 (4)
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Rev. 10/15/11 Page 2/2
7
0
Lick #4
1
7
&
5
20&
0
3
0
&
0
4
3
3
1 triplet
20
3
2
2 triplet
10
0
3
0
&0 4
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Figure 6: Rest SymbolsArr. Rick McKeon
Rev. 8/28/11
TAB
quarter note rest eighth note rest
TAB
2
sixteenth note rest half note rest
TAB
3
whole note rest
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Figure 7: ExercisesRests and Holds Arr. Rick McKeon
Rev. 8/28/11
4 4 0
Exercise #1
1
0
2 Rest
0
4
0
1 Rest
0
3 (4)
3
0
Exercise #2
1
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2
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3
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4 Hold
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Exercise #3
1 Hold &
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1 Rest
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7
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Exercise #4
1
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2 Rest
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4
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1
0
2 Hold
0
4
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Figure 8: Practice LicksRests and Holds Arr. Rick McKeon
Rev. 8/29/11
4 4
Lick #1: Quarter Note Rest Pickup
(1)
0
2
2
3
4
4
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1
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&02
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&
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0 4
3911
Lick #2: Rests and Hold in Ending
1 (&)02
0
&
9
3
8
&
0
4 (1)
16
2 (&)
17
3 (&) (4)
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Lick #3: Eighth Note Rest Pickup
(1)0&
00
2
01
3
02
4
2[SL]
1
03
&02
3
&
0
30&
3
4
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0
Lick #4: Hold
1
3
&
2
20&
0
3
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&
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4 (1)
1
&
2
2
00
3 (4)
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Figure 9: Movable Chord FormsMajor, Minor, and 7th Chords
Fm = 1,b3,5F G A Bb C D E F
I
L
F1
Abb3
C5
F1
R
I
F = 1,3,5F G A Bb C D E F
MI
L
F1
A3
C5
F1
R
F7 = 1,3,5,b7 F G A Bb C D E F
MI
F1
A3
C5
Ebb7
R
I
D = 1,3,5D E F# G A B C# D
R
I
L
F#3
A5
D1
F#3
M
Dm = 1,b3,5D E F# G A B C# D
IM L
Fb3
A5
D1
Fb3
R
A = 1,3,5A B C# D E F# G# A
I I I
E5
A1
C#3
E5
I
Am = 1,b3,5A B C# D E F# G# A
MI
L
E5
A1
Cb3
E5
R
A7 = 1,3,5,b7 A B C# D E F# G# A
I I I
E5
A1
C#3
Gb7
I
L
D7 = 1,3,5,b7 D E F# G A B C# D
RL
F#3
Cb7
D1
M
F#3
I
Rick McKeon 2011
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Figure 10: Movable Chord FormsThree Forms, Four Positions
G
7
9
12
3
5
C
7
9
12
3
5
D
7
9
12
3
5
Rick McKeon9/2/11
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Figure 11: Chords for Boil Them Cabbage Down
G C G D71 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
G C G D7 G1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
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Boil Them Cabbage DownArr. Rick McKeon
Page 1/4
4 4 0
GOpen Position
Boil
0
0 them cab -
00
0
0
bage
0
C
1
down
2
0
1
boys,
2
0
12
3
G
0
Turn
0
0 them hoe
00
0
0
cakes
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D7
2
round.
0
0
2
0
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2
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5
G
0
Only
0
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song
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that
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C
1
I
2
0can sing
12
0
1
is
2
7
G
0
boil
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0 them cab -
2
0
D7
0
2
bage
0
G
0
down.
0
0
0
0
0
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Page 2/4
9
G
4
5th Fret
35
43
5
4
5
C
55
5
55
5
5
5
11
G
43
5
43
5
4
5
D
23
4
0
43
2
4
13
G
43
5
43
5
4
5
C
55
5
55
5
5
5
15
G
43
5
D
23
4
2
4
G
5
53 4
53 4
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Page 3/4
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7 G
9
t ret
98
9
98
9
8C
10
108
9
108
10
19
7 G
9
98
9
98
9
7 D
7
7 7
7
7
7 7 7
21
7 G
9
98
9
98
9
8C
10
108
9
108
10
23
7 G
9
89
7 D
7
7 7
7
G
5
53 4
53 4
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Page 4/4
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12G
12
1212
12
1212
12
12C
1213
14 141312
27
12G
12
1212
12
1212
12
10D
1110
1210
11
12
29
12G
12
1212
12
1212
12
12C
1213
14 141312
31
12G
12
1212
10D
1110
12 121212
12G
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Figure 12: Harmonizing The 1st and 3rd StringsKey of G - Harmonizing in Sixths
Rick McKeon11/29/11
7
10
12
3
5
15
17
G - E
A - F#
B - GC - A
D - B
E - C
F# - D
G - E
A - F#
B - G
Notes:
1. Diamond = 1st string G
2. All notes on bothstrings are from the GMajor scale.
3. Using the "F" formnotes of the chord go1 3 5 1
4. 1st and 3rd stringnotes are a separated bya sixth. They come from
the chords in the key:I ii iii IV V vi vii(dim)
5. Intervals are either M6 = 4 1/2 steps or m6 = 4 steps
Therefore the 3rd stringnote is either 2 frets or 1
fret below the 1st stringnote.
Chords in GUsing the"F" Form
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Figure 13: Harmonizing the 1st and 2nd StringsKey of G - Harmonizing in thirds
Rick McKeon11/29/11
7
10
12
3
5
15
17
C - E
D - F#
E - G
F# - A
G - B
A - C
B - D
C - E
D - F#
E - G
Notes:
1. Diamond = 2nd String G
2. All notes on both stringsare from the G Major scale.
3. Using the "D" form notesof the chord go3 5 1 3
4. 2nd and 1st string notesare separated by a third.They come from the chordsin the key:I ii iii IV V vi vii(dim)
5. Intervals are either: M3 = 2 steps or m3 = 1 1/2 steps
Therefore the 1st stringnote is either on the same
fret or one fret higher than the 2nd string note.
Chords in GUsing the "D"
Form
B - D
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Figure 14: Chords in a Key
Rick McKeon10/23/11
C D E F G A B C
FACE
EGBDF
Triads Built on Each Scale Tone
C D E F G A B C
FAC
E
EGBDF
The C Major Scale
EG FA GB AC BD CE DF EG
m3M3
M3m3
m3m3
m3M3
M3m3
m3M3
Therefore:C Dm Em F G Am Bdim CI ii iii IV V vi vii(dim) I
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Figure 15: Harmonizing the 2nd and 3rd StringsKey of G - Harmonizing in Thirds
Rick McKeon11/29/11
7
10
12
3
5
G - B
B - D
C - E
D - F#
E - G
F# - A
G - B
Notes:
1. Diamond = 3rd String G
2. All notes on bothstrings are from the GMajor scale.
3. Using the "A" formnotes of the chord go5 1 3 5
4. 2nd and 3rd stringnotes are separated by a third. They come from thechords in the key:I ii iii IV V vi vii(dim)
5. Intervals are either: M3 = 2 steps or m3 = 1 1/2 steps
Therefore the 3rd stringnote is either on thesame fret or one frethigher than the 2ndstring note.
Chords in GUsing the"A" Form
A - C
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Figure 16: Musical Intervals
What Is A Musical Interval?
A musical interval is the distance between two notes. An interval has two names:
Last Name = Count the distance between the letter names of the notes.Ex. from C to E is a third.
First Name = Major, minor, perfect, diminished, augmented - depending on the actualdistance between the notes.
Intervals Number of Whole Steps
Diminished Minor Major AugmentedSecond 0 1/2 1 1 1/2Third 1 1 1/2 2 2 1/2Sixth 3 1/2 4 4 1/2 5Seventh 4 1/2 5 5 1/2 6
PerfectUnison 0 1/2Fourth 2 2 1/2 3Fifth 3 3 1/2 4
Octave 5 1/2 6 6 1/2
The Major Scaledo re mi fa sol la ti do1 2 3 4 5 6 7 1 (8)Whole Whole Half Whole Whole Whole Half
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From the root the intervals of the major scale are:1 M2 M3 P4 P5 M6 M7 P8
In words that would be:do do = Unisondo re = Major Second
do mi = Major Thirddo fa = Perfect Forthdo sol = Perfect Fifthdo la = Major Sixthdo ti = Major Seventhdo do = Perfect Octave
Rules for making intervals bigger or smaller
Decrease a Major interval by step and it becomes MinorDecrease a Minor interval by step and it becomes DiminishedIncrease a Major interval by step and it becomes AugmentedDecrease a Perfect interval by step and it becomes DiminishesIncrease a Perfect interval by step and it becomes Augmented
Note:There is no such thing as a Major or Minor Forth
There is no such thing as a Major or Minor Fifth
The Sound of Ascending IntervalsMajor Second: ARE YOU sleeping?Minor Third: WHAT CHILD is thisMajor Third: MICH AEL ROWPerfect Fourth: HERE COMES the bridePerfect Fifth: TWINKLE, TWINKLE little star
Major Sixth: IT CAME upon a midnight clear, NBC = 1 6 4Minor Seventh: THERES A place for us (from West Side story)Major Seventh: All at ONCE AM I, several stories highOctave: SOME-WHERE over the rainbowMajor Triad (1 3 5): Mich ael - Row or sound of major chord
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Figure 17: Circle of Fifths